Tagore’s Portrayal of Prakriti in Chandalika

Tagore’s Portrayal of Prakriti in Chandalika

Rabindranath Tagore has left an indelible mark in literature with his progressive ideas and deep understanding of human emotions. One of his notable works, Chandalika, tells the story of Prakriti, a young girl born into a marginalised caste labelled as ‘chandal’. The term ‘chandal’ refers to a historically marginalised caste group in India that faced severe social discrimination and exclusion. They were traditionally engaged in tasks considered unclean or polluting. This essay explores Tagore’s portrayal of Prakriti, who breaks free from her societal shackles and gains an identity as a human being.

Breaking free from societal shackles:

In the drama, Ananda is a Buddhist monk who comes to Prakriti’s village during a pilgrimage.

He asks for some water, from the chandal named Prakriti. Prakriti informs Ananda about her untouchable status as a ‘chandal’. In response, the Buddhist monk tells her, “As I am a human being, so also are you, and all water is clean…” He also asks Prakriti not to self-humiliate herself. By encouraging Prakriti to resist self-humiliation, Ananda empowers her to embrace her true identity and defy the oppressive norms imposed upon her.

Consequently, Prakriti is seen to have gained a newfound strength through her interaction with Ananda. She exclaims, “My caste was drowned, and my birth washed clean”. One also sees her fearlessness when she tells her mother, “I fear nothing any longer”. All of this showcases the egalitarian and empowering portrayal of the chandal. 

Prakriti’s quest for identity: 

At the heart of Chandalika lies Prakriti’s quest for an identity beyond the label imposed upon her. She longs for love, recognition and freedom from the constraints of her caste. As the narrative unfolds, Prakriti encounters Ananda, a compassionate monk who treats her respectfully and kindly despite her societal status. This encounter ignites a sense of self-worth and agency within her, leading to a transformative journey of self-discovery. 

In the course of the play, Prakriti develops an identity of herself. She declares that “Plenty of slaves are born of royal blood”, but she is not a slave. She further exclaims that “plenty of chandals are born of Brahmin families”, but she is not a chandal. Prakriti refuses to be an untouchable and breaks free from the societal shackles. She constructs a new identity for herself, where she is a fearless and strong human being. 

Tagore’s Prakriti Challenges the system:

When Prakriti’s mother asks her if she has no respect for religion, she replies, “A religion that insults is a false religion”. She realises that the religion to which she belongs “blinds and gags” her and forces her to conform to a set of arbitrary rules that do not do justice to her. One also sees that she refuses to respect someone, who would not respect her, “I respect him who respects me”. 

Prakriti desires to own Ananda and says, “I want him”. She implores her mother to cast a spell on the monk. Consequently, when her mother cautions her regarding any curse that might befall her, she states, “There has been a curse upon me all my life”. Her dismissal of her mother’s caution suggests a resilience and inner strength that allows her to face any obstacles head-on. In her eyes, poison can only be countered with poison, reflecting her unwavering belief in taking control of her destiny. 

Conclusion: 

Thus, in Chandalika, Tagore portrays Prakriti’s quest for identity beyond societal labels. The play remains timeless, inspiring readers to question societal norms and strive for a more inclusive and equitable world.

It is also interesting to listen to Tagore’s Rabindrasangeet, which is available on Phalguni Mookhopadhaya’s Youtube Channel —

 https://www.youtube.com/@pmbrainware/videos

Listen to Ami Chini Go Chini |আমি চিনি গো চিনি: